There is hardly anor film in which all-supporting, all-enduring leading actress laughs so often and so out of lust for life – although basic tone is quite elegiac. In this Schauspielerinnenbiopic, if Marie-trees Quiberon her Romy Schneider as a self-forgetting, girl-like, Überzwerch, goblin in bed, on floor or through a room of great and dancing, n re is always a pain in smile . In full laughter a silent cry.
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The Berlin-born 45-year-old Iranian-French director Emily Atef plays in three days in Quiberon, second competition contribution from Germany, in two ways with death. The film is only about those three days in March 1981, when young stern reporter Michael Jürg, toger with star photographer Robert Lebeck, visited Romy Schneider for an interview in a Breton spa hotel on diet and alcohol deprivation. But without letting it sound directly or to point it out in trailer: The son David, who has been summoned by Romy Schneider in film, repeatedly called her life-luck in interview, whom she loses through her film work, her private affairs and too frequent absence Fears that 14-year-old David died a quarter of a year after days in Quiberon by an accident impaled on lance fence of great elternhauses. And a year later, Romy Schneider, Austrian-German world star from France, was also dead.
This knowledge inevitably plays with viewer’s mind. Especially since Emily Atef quasi-documentary after-life of real events in Quiberon by historicizing ends, often as spontaneously turned from hand-twisted black and white images from Thomas W. Kiennasts camera. Above all, Marie-Treer looks very much like her cinematic model, and many attitudes are a conscious reprise (and homage): Inspired by Robert Lebecks legendary photos.
Dance with a fisherman-poet
The most beautiful part is already one of early highlights: a nocturnal eruption from Kurhaus, you end up in a still open harbour pub, re flows champagne, remnants of a fete, a few guys ask Romy for an autograph, re you meet a bearded, Shaggy Narbiger old man, you drink toger. The old one is a fisherman-poet ( wonderful Denis Lavant), he charms with some really great verses and dances with Romy. That’s what Lebeck’s been holding, and Atefs after last.
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Romy knew Lebeck, trusted him amicably, so she was ready for star interview. Despite psychological, familial, financial problems and ir or phobia before German press, which had long enough blamed her for departure to France and radical rejection of old, young mädchenhafte Sissi role picture.
Robert Gwisdek as a young reporter Jürgs now plays himself with se clichés. As a first-pointed, narrow vomit chunks he provokes, calls going away to France a “cut off”, insinuated “scandals”. But Schneider counters surprisingly, almost disarmingly, introduces himself: “I am 42, an unfortunate woman and hot Romy Schneider.” Her friend Hilde from Vienna’s Children’s Times (played by Birgit Minichmayr) is trying to keep her from unsuccessfully revealing herself to Hamburg reporter and thus to all world so risky. But Romy remains foolhardy. This is shown by Marie reeling excellent, drunk and light-sighted, between melancholy and light-minded. Alone, because of iconic staging archetype is at same time in sight, it seems more brittle, perhaps a little more norrly-sensible, does not have dreamy soft yet penetrating look and of course not broken Viennese timbre.
Apart from her a little bit curious, massive Charly Hübner, this great, but here as a charismatic photographer completely antitypical actor. Lebeck was for Romy “Le Beau”, her relationship erotic and chaste. Here she is, on verge of comedy, only chummy chaste.
